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The indicia on the inside front cover of The Downed Deer makes it clear that the book "is a work of fiction. Despite the clear and up-front insistence that the book is fiction, Froh's regular readers, who have grown accustomed to the cartoon Froh standing in as a one-to-one avatar for the cartoonist herself, can't help but wonder how much of the story is true.

Adding to the impact, too, is the book's blending of styles. As usual, Froh's self-portrait is just made up of a few lines — one big rounded mass of hair, no differentiation between her eyes and her glasses, a plain t-shirt and jeans. But Froh the character camps out on the fringes of the dense forest, which Froh the artist illustrates in deep detail: the leaves on bushes could also be a reptile's scaly skin, the branches of trees could be people waving off in the distance.

Are those snakes or switchgrass? It's unclear, and thrillingly so. It's been a while since I've read a horror comic that worked as elegantly as The Downed Deer. It's unsettling from beginning to end, and the book builds to a crescendo worthy of a classic Twilight Zone episode. It's dark and menacing and wondrously effective comic storytelling.

More than pretty much any award or publication date announcement, the annual event we most look forward to every year in the literary calendar is the release of the VIDA count , which tallies the gender identification of authors at literary magazines for the previous year. We spoke with Nicola Griffith right at the launch of this site about the importance of counting voices, if you need a refresher.

Representation of nonbinary writers is still vanishingly small. Hopefully their inclusion in this count can begin to move the needle.

The Seattle Review of Books

We also missed data on race and ethnicity this year, but the rationale — VIDA is taking time to re-think their Intersectionality Survey in response to feedback from their community and their own team — is a good one. Still, we look forward to seeing a more nuanced view return next year. We also hope to see the new and improved intersectional component better ingrained into the initial gender conversation, rather than as a separate index.

The collaboration between Hyesoon and Choi continues to energize and challenge contemporary world Anglophone poetry into a zone beyond borders. I interviewed Seattle author Paul C. Tumey last month about his book Screwball! The book is an anthology of some of the earliest pioneers of comics art from the funny pages, and Tumey is a fantastic guide: he can explain the nuances of comics as well as just about anyone, and his passion for the classics of the funny pages is infectious. Pretty much every film buff knows that the early years of cinema is a wasteland of lost art , as very few of the first silent films were archived.

When I told Tumey that I feared the same was true of comics, he had some good news: in the middle of the 20th century, America's public libraries were eliminating their archives of old newspapers, but "before they did, they photographed them for microfilm," Tumey explained. Granted, the switch to black-and-white microfilm means that the vibrant colors of many old Sunday comic strips have been lost forever, but Tumey is grateful that most of it exists at all. That's not too long in the span of things, but in America, that's forever. But to make Screwball! Tumey would bid on classics of the form, and he'd frequently get outbid by one of the handful of comic strip collectors out in the world.

For those strips that he couldn't dig up through internet bidding, Tumey says the Billy Ireland Cartoon Library at Ohio State University is "a tremendous, resource for books like this and for comics scholars. One aspect of these early cartoons that has been lost to time is the actual process of cartooning. Were they all drawn out in elaborate detail, or were the artists winging it as they went along? However, he may have just drawn the background gags in with an ink pen.

Guide A Vivid Imagination (Sammy Greene Thrillers Book 3)

Part of the vibrance of the early cartoons comes from their immediacy. This was a lot of work, and some of them were doing two and three strips at the same time. So, I don't think they spent a lot of time on them—it's very spontaneous. It's important to note that Tumey didn't collect Screwball!

He wanted to create guideposts for the future. Tumey has been a part of Seattle's comics community for decades, and he thinks these classic cartoons are "a vital art form and a part of our lineage. But this isn't just a reference for cartoonists. Tumey thinks that we could all use a little screwball in our lives.

The undercurrent of screwball comics is a sense that the world is absurd, that things will fall apart. These comics are tributes to the second law of thermodynamics, which is that things fall apart eventually. Do you know about sponsor Noveltease Theatre? They adapt classic books into neo-burlesques: good-natured parodies of great books to reclaim and rework the canon from a sex-positive, queer, and feminist standpoint.

Their latest production is Jane Austen's own Northanger Abbey, and they're putting it up this Friday and Saturday night, November, 15th and 16th. Some tickets are still available , but grab yours soon to make sure you get a seat. Head over to our sponsor's page to read more about the what and where of the event: the why is obvious. Good fun! If you want to reach our readers, like Noveltease and other sponsors do, great news! We've got some great deals on upcoming weeks in the primetime of the holiday season.

Check out our sponsorship page for more information, or if you're ready to book, check out dates and prices!

  2. Murder Never Retires (DI Hillary Greene, #12) by Faith Martin?
  3. Pastime Paradise!
  4. The Most Anticipated Books of Spring 12222.

Artemesia Gentileschi is having a moment right now in the Pacific Northwest, appearing in young adult novels, plays, and the Seattle Art Museum. A new comic from Fantagraphics looks to contextualize the Renaissance painter for a new generation. ShortRunSeattle ShortRun The Short Run Comix and Arts Festival this year looked a lot like Short Runs past: there was a tremendous bake sale; more zines, comics, and books than any human being could read in a lifetime; an animation project; activities for kids; speakers and art shows; legendary local creators and brand-new young cartoonists with their very first books.

It's a convivial celebration of hand-made art — the kind of art that is made for its own sake, to represent a perspective that doesn't get time and attention in the mainstream media. Short Run is, in short, always one of our very favorite events in the Seattle literary calendar year. Most years, it winds up being our single favorite event. It's all about balance: there's a mix of young and old, familiar and new, fun and serious. Short Run is meticulously planned, but it still feels like a really good afternoon hang with all your friends. This should be impossible, but somehow it works.

But there was something different about Short Run this year: it was packed. Every Short Run in the history of the festival has been crowded.

But this year's Short Run felt, from beginning to end, almost besieged with comics and zine fans. Some publishers we talked to said they were selling far more books than in festivals past, and a few cartoonists said they were seeing more people take interest in their work. More than one person worried that the fire department might be called to shut the show down for overcrowding. That said, the crowding didn't feel dangerous. Everyone was polite as they tiptoed around each other to get to a mobbed table. Children were given wide berths and watched after affectionately by strangers.

People, in short, weren't assholes about it: we were all there for a common purpose, after all, and that purpose ultimately boiled down to fun.

  • 28. A Black Spy during the Revolution (Young Heroes of the American Revolution).
  • Writers and Editors.
  • Hesitancy and Experimentation in Enlightenment Spain and Spanish America.
  • In our first circuit around the floor, we checked in with many of our perennial favorite local Short Run attendees. A short overview, though you'll likely be hearing more about many of these books in the weeks to come on this site:. We can't wait to dig in to all these books. Stay tuned for reviews as soon as we can devour them. Over the last year, Ezra Claytan Daniels has rocketed from relative obscurity to become the king of indie comics. His sci-fi thriller about the quest for eternal love, Upgrade Soul , has been nominated for just about every award in comics.

    Daniels is pitching the comic as a way to resolve the broken political discourse in this country — is that all? In the world of New Fears , the circuits are miswired.

    NPR’s Book Concierge

    Flip on the light, and you disappear; take scissors to your hair, and a dark gash appears across your eyes. In four precise squares per square page, in sharp black, cyan, and coral, Anuj Shrestha draws subtle nightmares that subvert the expectations of illustration.

    An illustrator with work in the New York Times , Wired , and more, Shrestha owns the art of small stories, and the chills he invokes with the macabre translate quickly to the pragmatic: a world where dinosaurs become jets become ocean, where perspective transforms child staring through a fence into children staring out. He's drawing out our fears — which are rapidly becoming old. Moniker Press Vancouver, BC is about small runs ahem and ephemera, and especially collaborations between writers and visual artists.

    Viorica Hrincu's short series of poems approach a loss of something considered essential to beauty, which is essential to being loved. One thing we noticed at Short Run this year: Riso printing is so hot right now. The sheer number of gorgeous, hand-printed books was through the roof compared to Short Runs last.

    Carrito de compra

    Simply put: people's work looked really, really good. It's still hand-made, but there's a professionalism and an artistry to risograph printing that mass-produced paperbacks simply can't touch. The inclusion of so much riso printing definitely drove up the per-item average cost at Short Run to heretofore unprecedented levels — this kind of artistry doesn't come cheap — but it made the show even more beautiful than ever.

    We're always glad to run across Laura Knetzge r at her table. After falling hard for her series Bug Boys a few years back, we make sure to check out what's new in her world. The big news, of course, is that Penguin Random House is putting out a collected Bug Boys in February , so that is something to look forward to in the new year.

    Linda Reid Public records

    Sadly, that meant no new update of the ongoing comic this year. Instead, we picked up the first issue of her new Kaleidoscope , a book with three original medium-length comics. Unlike Bug Boys , these stories carry adult themes, and use magic and fantastical situations, in what feels like the "real" world, to explore the power in relationships, sexuality, and earnest desires — both unfulfilled, and perhaps, in one case, better left unfulfilled.

    They are about showing another being your feelings, and discovering where their's may, or may not, join with yours. Like Bug Boys, they are thoughtful, sweet, and tender in a kind of vulnerable way that Knetzger uniquely embraces, instead of playing it down with irony or other tricks of removal. It reinforces the thought that Knetzger is a truly brave writer — not in the autobiographical sense of inviting you into her personal minutia, but in the sense that the themes she explores appear to be the things that engage and concern her, both philosophically and in her interpersonal relationships.

    She's like the fantastical Iris Murdoch of Seattle's indie comics scene, and we're lucky to have her. A nine-year old traveling with us was quite taken with The Galactic Contest , a mini-comic from Fredrick Dobler , from Olympia.